Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This technical manual provides precise geometric and spatial instructions for the construction of a maṇḍala, specifically referencing the Tattvasaṃgraha tradition. The text functions as a prescriptive guide for the mantra practitioner, detailing the mathematical division of space into boundary lines and sixteen great parts (mahābhāga) to ensure ritual accuracy. It moves from the foundational layout—establishing the perimeter and the orientation toward the fire-demon (Agni)—to the complex internal architecture, including the construction of lattices, pillars, and verandas. The author commits the reader to a rigorous application of proportional measurements and the correct placement of symbolic elements, such as lotuses, moons, and specific deities like Lāsyā and Dhūpā. By defining the relationship between the outer borders and the inner circles, the text ensures that the physical representation of the sacred space adheres to the required canonical proportions necessary for the ritual's efficacy.
Provenance
About this text
A technical treatise on the laying of maṇḍala lines common to all tantras, the Saṃkṣiptamaṇḍalasautra provides precise geometric instructions for ritual construction. The work is attributed to the Indian author Śraddhākaravarman. It was translated into the Tibetan language by Pratakaravarman and the translator Rin chen bzang po, as preserved in the Tengyur, volume རི, where it comprises five pages. Within the Tibetan canon, the work is situated among the Yoga Tantra Treatises. The text enacts a prescriptive guide for the mantra practitioner, detailing the mathematical division of space into boundary lines and sixteen great parts, or mahābhāga. It directs the practitioner to establish the perimeter on level ground oriented toward the fire-demon, Agni, and further specifies the proportional measurements for internal architectural elements such as lattices, pillars, and verandas. A scholar or serious reader consults this manual today to understand the rigorous application of spatial proportions and the specific placement of symbolic elements required to ensure ritual accuracy in the physical representation of the maṇḍala.
Sanskrit title
Saṃkṣiptamaṇḍalasautra
Indian author
Śraddhākaravarman
Tibetan translators
Pratakaravarman, zhu chen gyi lo tsa ba rin chen bzang po
Cite thisAnuvāda, “A Concise Exposition on the Lines of a Maṇḍala” (Toh 2505), machine draft, 2026.https://naxiai.com/tibetan/works/toh2505
Summary & commentary
Significance
The work is significant as a primary source for the study of ritual geometry and the physical manifestation of Buddhist cosmology. It demonstrates the intersection of mathematical precision and spiritual practice within the Tattvasaṃgraha tradition. For the modern reader, it reveals the technical rigor underlying the creation of visual aids used in Vajrayāna meditation.
Structure
Passages
Section
Description
1-2
Introduction and Initial Layout
Contains the title in Sanskrit and Tibetan, an invocation to Vajrasattva, and the initial instructions for drawing boundary lines and dividing the maṇḍala into sixteen great parts.
3
Architectural Components
Details the construction of the lattice, pillars, and the placement of the veranda and archway (toraṇa).
4
Internal Divisions and Circles
Describes the application of the five maṇḍalas and the drawing of concentric circles and border lines.
5
Ornamentation and Deity Placement
Instructions for placing lotuses, moons, and specific goddesses within the Tattvasaṃgraha maṇḍala.
Themes
Ritual Geometry and Proportion (2-4)
Sacred Architecture (3)
Iconographic Placement (5)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Concise Exposition on the Lines of a Maṇḍala·
In the language of India: Saṃkṣiptamaṇḍalasūtraṃ nāma. In the language of Tibet: dKyil ’khor gyi thig gdab pa mdor bsdus pa (A Concise Manual for Laying the Maṇḍala Lines). Homage to the glorious Vajrasattva!
Having prostrated to the Great Bliss, which is pure and naturally stainless, I shall explain the laying of the maṇḍala lines, which is common to all tantras.
On a level and pleasing ground, twice the size of the maṇḍala, well-sprinkled with fragrant water and purified by mantra, and made most beautiful, one should understand the directions and intermediate points to be equal. The maṇḍala cord, twice the length of the maṇḍala, should be very soft and moist; with these, the wise one should lay the maṇḍala lines.
The master faces east and the disciple faces west; stretching [the cord] taut, and placing vajra fists on the ground, they should lay the Brahmā line. That line should be divided into four parts according to the dimensions of the maṇḍala. Discarding the two ends, one should take the measure of the two middle parts. Placing a level piece of wood in the center, one should mark the north and south. Then, facing west, one should likewise mark the south and west. At the intersection of the two crow marks, the second Brahmā line should be laid. Measuring half the length of the Brahmā line, the four corners should be accurately determined. Having marked them like the crow marks, the lines for the four corners should then be laid. Facing north, south, east, and west, by laying four lines toward the directions of Indra, Varuṇa, Kubera, and Yama, the four sides are formed. Having measured them very precisely, [the work continues].
In the direction of the fire-demon (Agni), by drawing two boundary lines, the four lines of the maṇḍala are formed. Thereafter, the wise mantra practitioner should divide the four sides; each of these should be further divided into sixteen great parts (mahābhāga). Then, upon a perfectly level and pleasing surface, the individual parts should be divided. The first, second, and likewise the third—these three parts should each be divided into four. The fifth, sixth, seventh, and eighth should also be properly divided in the same way, as should the other eighth. Having divided them equally in the four directions, the lines should then be struck. In this regard, there will be fifty-eight rows or grid squares. From both sides of the Brahmā-line, the third, the fifth, the fourteenth, the seventeenth, and likewise the twentieth—having divided these into five parts in the four directions—the door-surround (toraṇa), the side-walls, the faces, the base, and the excellent lintel (kapōta) are formed. This is the sequence for striking the lines, taught in summary from all the kings of tantras without exception. Starting from the gate, the wise one should divide it evenly and clearly. The gate is one-eighth of the wheel; the lintel, together with it, is divided in the center. The outer area of the door-surround should be made into a courtyard (prākāra), with a width of two small parts (aṇubhāga). As far as the two door-surrounds, the courtyard section should be extended. The base and the back are the jewel-cornices (ratnapaṭṭikā), to be made with the measure of one small part. The width of the outer side is two parts.
One should construct the lattice and the half-lattice to the proper measure. The other portion behind the side walls is the pillar, praised as one part. The rear boundary line of the veranda is situated at five parts, and it should be placed within the archway (toraṇa). From the upper roof of the archway, one should omit one part; the measure of the great part (mahā-aṃśa) is four great parts in width, and the stairs and so forth should be made accordingly. One part of the archway is the location of the lotus; the Dharma wheel is two parts. The measure of the parasol is equal in width and height; its handle is half of one part. On both sides of the wheel, two deer are situated facing each other, leaning against the archway and directed toward the wheel, neither too close nor too far. With a handle of vajras and jewels, and of that same measure behind the deer, one relies on the line after omitting one small part (aṇu-aṃśa). With a half-handle of vajras and jewels, and adorned with banners and bells, it is held to be a beautiful archway. At the junctions of each internal side, there shall be the platforms (paṭṭikā) for the deities. The measure of the great part is held to be three, five, and one. This is the excellent division of the lines for all the tantras. Whatever the shapes within this may be, they are distinguished by the divisions of the tantras; all of these should be clearly understood and made without addition or omission. This is the explanation of the Root Tantra known as the Tattvasaṃgraha. Regarding the lines for the deity platforms, they are most beautiful when joined to the circle. In accordance with the tantras, the maṇḍala should be clear and possess five [sections]. Regarding the ritual of the previous lines, the lines should be properly struck.
That very [space] should be correctly divided by the application of the five maṇḍalas. Having applied [the lines] to the deity’s border lines, one should first divide [it]. The second circle below that should also be drawn from within the minor parts. The space between the two circles is determined to be twenty-two minor parts. There, the locations of the five maṇḍalas should be known; from the Brahmā lines, one should draw three minor parts on each side. Within that, one should draw again with a measure of half a minor part. Between those two, the central maṇḍala is one-fourth of a major part. The five [maṇḍalas] are adorned in the four directions of the center with lotuses and moons; because it is the Buddha maṇḍala itself, it is perfectly endowed with a garland of wheels. Similarly, in the eastern direction, having set aside half a minor part, one draws in that manner from the Brahmā line. One draws within with half a minor part. Likewise, in the locations of the four directions, the maṇḍalas of Akṣobhya and the others are adorned with garlands of vajras, jewels, lotuses, and crossed vajras. "One should make the five maṇḍalas beautifully adorned with vajra fences," as some masters explain, therefore that is the supreme text for it. Just as with the Lord, they should be adorned with lotuses and moons. Whatever is the space between the five squares is one minor part plus a half. At the tips of the pillars at the edge of the squares, the vajras are joined. Having set aside half a minor part for the eight maṇḍalas, one should make a vajra garland.
At the intermediate points, one should adorn [the corners] with lotuses and moons according to their respective positions. There, one should place the four goddesses, Lāsyā and the others. In the center of the maṇḍala of the Tattvasaṃgraha, the four outer goddesses, Dhūpā and the others, should be drawn at the outer intermediate points, and the Bodhisattvas of the Fortunate Aeon should also be placed. At the gates, the gatekeepers should be drawn. Outside, a clear vajra garland, measuring half of a large unit (mahā-aṃśa), and a garland of flames of the same measure should be placed. The exterior is adorned with trees and so forth. Inside, the sections are divided into half of those [units], and lines are struck; one should conceptually visualize the various tiers of the palace with one's own intellect. Because Ratnabhadra, with faith and devotion, made many requests to Vīravajra, I have clearly distinguished the ritual of the lines out of compassion. May the holy ones forgive whatever errors I have committed. By whatever supreme merit is gained through this, which becomes the accumulation for awakening, may this entire world without exception become the master of its own maṇḍala.
The Brief Ritual of the Maṇḍala Lines, composed by the master Śraddhākaravarman, is complete. It was edited and finalized by the Indian abbot Pratakaravarman and the chief editor-translator Rinchen Zangpo, according to the new linguistic reforms.
Translation status: Not among 84000's published translations, and not in progress there. Translations published elsewhere have not been searched for, so one may exist. (source: 84000 catalogue + registry; checked 2026-11-10).
Set in Newsreader and EB Garamond; Tibetan in Noto Serif Tibetan; Chinese in Noto Serif SC.